Odysseus and the Cyclops (Greek, from the Odyssey, by Homer) Hero Story

Total Page:16

File Type:pdf, Size:1020Kb

Odysseus and the Cyclops (Greek, from the Odyssey, by Homer) Hero Story Odysseus and the Cyclops (Greek, from The Odyssey, by Homer) Hero Story After 10 years of fighting against Troy, Odysseus, one of the victorious Greek leaders known for his cleverness, sailed for home with his men and ships. After many adventures, they came to an island. Unbeknownst to them, the island was inhabited by the Cyclops people, a race of giants with only one eye in the middle of their forehead. The Cyclops creatures were lawless, without culture, and ate humans when available. On finding a large cave, Odysseus and his men entered the cave, where they helped themselves to the food and drink they found there, and fell asleep. After a time, a Cyclops, whose name was Polyphemus, returned to the cave. Leading his flock of giant sheep into the cave, he rolled a huge stone against the mouth of the cave to close the entrance. On finding Odysseus and his men in the cave, the Cyclops became enraged, grabbed two of the men, smashed their heads against the rocks, ate them, and fell asleep. Odysseus dared do nothing to the Cyclops, since only the Cyclops was strong enough to move the stone away from the mouth of the cave. The next morning, the Cyclops grabbed two more men, smashed their heads against the rocks, and ate them for his breakfast. He then rolled away the stone, led out his herd of sheep, and rolled the stone back to close the cave. Odysseus devised a plan. He and his men took a large timber, carved the end to a sharp point, and hid it. When the Cyclops returned in the evening, he again led his sheep in, rolled the stone to close the mouth of the cave, and proceeded to bash in the heads of two more men and eat them. This time Odysseus spoke up, and offered the Cyclops some strong wine he had brought with him. Polyphemus, who had never drunk wine before, drank his fill and became very drunk. Thanking Odyssesus, Polyphemus asked him his name. Odysseus told him his name was “No man”. The Cyclops then fell fast asleep in a drunken sleep. Odysseus and his men then took the timber and heated the sharpened end in the fire until it glowed red. Then, with all their strength, they pushed the red-hot point into the eye of Polyphemus. The Cyclops howled and woke up flailing, but he was now blind. The other Cyclops who lived on the island came running, but when they asked Polyphemus who had done this to him, he replied “No man!” and the other Cyclops all returned home laughing. Early the next morning, Odysseus tied each of his men to the belly of one of the giant sheep. When Polyphemus awoke and led the sheep out of the cave, he felt the back of each sheep to make sure no one was on them. Feeling nothing, Polyphemus allowed each sheep to pass out of the cave, carrying with it one of Odysseus’ crew tied to its belly. Odysseus himself grabbed onto the fleece of the last sheep’s belly, and escaped through the mouth of the cave. Odysseus and his men ran back to their ship and hurriedly pushed out to sea. As they sailed away from the harbor, Odysseus called out to Polyphemus, laughing at him and telling him that it was not "No Man", but he, Odysseus, who had blinded him and fooled him. Source: Pratt Institute, Prof. Michael O'Rourke DDA 514, Storyboarding & Storytelling .
Recommended publications
  • Intertextuality in James Joyce's Ulysses
    Intertextuality in James Joyce's Ulysses Assistant Teacher Haider Ghazi Jassim AL_Jaberi AL.Musawi University of Babylon College of Education Dept. of English Language and Literature [email protected] Abstract Technically accounting, Intertextuality designates the interdependence of a literary text on any literary one in structure, themes, imagery and so forth. As a matter of fact, the term is first coined by Julia Kristeva in 1966 whose contention was that a literary text is not an isolated entity but is made up of a mosaic of quotations, and that any text is the " absorption, and transformation of another"1.She defies traditional notions of the literary influence, saying that Intertextuality denotes a transposition of one or several sign systems into another or others. Transposition is a Freudian term, and Kristeva is pointing not merely to the way texts echo each other but to the way that discourses or sign systems are transposed into one another-so that meanings in one kind of discourses are heaped with meanings from another kind of discourse. It is a kind of "new articulation2". For kriszreve the idea is a part of a wider psychoanalytical theory which questions the stability of the subject, and her views about Intertextuality are very different from those of Roland North and others3. Besides, the term "Intertextuality" describes the reception process whereby in the mind of the reader texts already inculcated interact with the text currently being skimmed. Modern writers such as Canadian satirist W. P. Kinsella in The Grecian Urn4 and playwright Ann-Marie MacDonald in Goodnight Desdemona (Good Morning Juliet) have learned how to manipulate this phenomenon by deliberately and continually alluding to previous literary works well known to educated readers, namely John Keats's Ode on a Grecian Urn, and Shakespeare's tragedies Romeo and Juliet and Othello respectively.
    [Show full text]
  • Death and the Afterlife in Homer
    Death and the Afterlife in Homer Death and what happens after death are universal concerns for humanity; around the world different cultures and religions contemplate our existence, and try to make sense of both our place in the world and our deaths. Although we no longer (for the most part) follow the religious beliefs of the ancient Greeks and Romans, their exploration of mortality and the afterlife can nonetheless be emotionally powerful and meaningful for us. In what follows, we will consider the presentation of death and the afterlife in some of the earliest Greek literature, Homer’s Iliad and Odyssey. The most common name for the underworld was Hades, a personified god and brother of Zeus, but also a place to which the souls of departed mortals go. Hades is in fact far more commonly mentioned as the underworld than as a personified god in Greek literature, although we do see him as an actual character in some myths, most famously in the story of the abduction of Persesphone by Hades, a tale told in the Homeric Hymn to Demeter. In post-classical times, the term Hades was adopted by Christian authors, including the early Church Fathers, Dante and Milton, to refer to the Christian concept of Hell. The term used is the same, but it is important to distinguish between the Christian conception of Hell and Hades. For Christians, Hell is a place to which the souls of the wicked descend after death, whereas the souls of the good are taken to Heaven to be with God. The ancient Greek concept is extremely different.
    [Show full text]
  • From the Odyssey, Part 1: the Adventures of Odysseus
    from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall.
    [Show full text]
  • A New Perspective on Revenge and Justice in Homer Judith Stanton Bridgewater State College
    Bridgewater Review Volume 2 | Issue 2 Article 13 Mar-1984 Research Note: A New Perspective on Revenge and Justice in Homer Judith Stanton Bridgewater State College Recommended Citation Stanton, Judith (1984). Research Note: A New Perspective on Revenge and Justice in Homer. Bridgewater Review, 2(2), 26-27. Available at: http://vc.bridgew.edu/br_rev/vol2/iss2/13 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Cultural Commentary Continued table for more moves, brings it out a third RESEARCH NOTE time for a last look and then manipulates it for the last time under the table, finally achieving cubical perfection. A New Perspective on Revenge Is this game playing spirit, native to all of us, at the heart of mathematics? Is and Justice in Homer Judith Stanton mathematics a sort of game, albeit with Assistant Professor of English serious applications? I think that it is. I am reminded of Jacob Bronowski who Most of us are aware that our idea of considers this question in his beautiful work, justice comes largely from Ancient Greece. so optimistic for mankind, The Ascent of But we might be surprised at how old Greek Man. At one point Bronowski is explaining justice really is. Classical Athens (490·323 symmetry in nature and art. He takes us to B.C.), to which we owe much of our the Alhambra, where in the baths of the understanding of justice, was itself heir to a harem we see motifs of "wind-swept" system of revenge justice that was older still triangles in perfect hexagonal collaboration -- perhaps as old as Hie Mycenaean period filling the walls.
    [Show full text]
  • FOR IMMEDIATE RELEASE Barbara T. Smith the 21St Century Odyssey April 13
    805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com FOR IMMEDIATE RELEASE Barbara T. Smith The 21st Century Odyssey April 13 – May 25, 2019 Opening Reception: Saturday April 13, 6PM – 8PM Screenings: Saturday, April 20 & Saturday, May 18 Panel with the artist: Saturday, May 11 For The Box’s fifth solo exhibition of Barbara T. Smith’s work, the focus will be on The 21st Century Odyssey, a two year-long durational performance that took place from September 26, 1991 to September 26, 1993. These dates correlate with the opening and the closing of Biosphere 2, located near Tucson, Arizona, where her partner at the time, Dr. Roy Walford, was the interred physician. Smith took on the role of Homer’s Odysseus and traveled the world while Walford, confined inside the Biosphere 2 facility along with 7 other “Biospherians” for 2 years, was Penelope. For Smith, this work was an endeavor to attain a global consciousness while maintaining the connection between Biosphere 1 (the earth) and Biosphere 2. “I was holding Bio 2 in my heart and connecting, of course, with Roy as a vehicle of that connection.” As part of this work, Smith traveled extensively internationally and domestically and considered every aspect of her life in this two year period, from the exotic to the banal, as part of the performance. In Homer’s The Odyssey, Odysseus struggles for ten years to get home to Ithaca after his battles in the Trojan War. Between 1992 and 1993, Smith traveled to India, Nepal, Thailand, Australia, United Kingdom, Germany, and Norway; within the U.S., she went to Northern California, Hawaii and Seattle.
    [Show full text]
  • The Odyssey and the Desires of Traditional Narrative
    The Odyssey and the Desires of Traditional Narrative David F. Elmer* udk: 82.0-3 Harvard University udk: 821.14-13 [email protected] Original scientific paper Taking its inspiration from Peter Brooks’ discussion of the “narrative desire” that structures novels, this paper seeks to articulate a specific form of narrative desire that would be applicable to traditional oral narratives, the plots of which are generally known in advance by audience members. Thematic and structural features of theOdyssey are discussed as evidence for the dynamics of such a “traditional narrative desire”. Keywords: Narrative desire, Peter Brooks, Odyssey, oral tradition, oral literature In a landmark 1984 essay entitled “Narrative Desire”, Peter Brooks argued that every literary plot is structured in some way by desire.1 In his view, the desires of a plot’s protagonist, whether these are a matter of ambition, greed, lust, or even simply the will to survive, determine the plot’s very readability or intelligibility. Moreover, for Brooks the various desires represented within narrative figure the desires that drive the production and consumption of narrative. He finds within the narrative representation of desire reflections of the desire that compels readers to read on, to keep turning pages, and ultimately of an even more fundamental desire, a “primary human drive” that consists simply in the “need to tell” (Brooks 1984, 61). The “reading of plot,” he writes, is “a form of desire that carries us forward, onward, through the text” (Brooks 1984, 37). When he speaks of “plot”, Brooks has in mind a particular literary form: the novel, especially as exemplified by 19th-century French realists like Honoré de Balzac and Émile Zola.
    [Show full text]
  • The Challenge of Oral Epic to Homeric Scholarship
    humanities Article The Challenge of Oral Epic to Homeric Scholarship Minna Skafte Jensen The Saxo Institute, Copenhagen University, Karen Blixens Plads 8, DK-2300 Copenhagen S, Denmark; [email protected] or [email protected] Received: 16 November 2017; Accepted: 5 December 2017; Published: 9 December 2017 Abstract: The epic is an intriguing genre, claiming its place in both oral and written systems. Ever since the beginning of folklore studies epic has been in the centre of interest, and monumental attempts at describing its characteristics have been made, in which oral literature was understood mainly as a primitive stage leading up to written literature. With the appearance in 1960 of A. B. Lord’s The Singer of Tales and the introduction of the oral-formulaic theory, the paradigm changed towards considering oral literature a special form of verbal art with its own rules. Fieldworkers have been eagerly studying oral epics all over the world. The growth of material caused that the problems of defining the genre also grew. However, after more than half a century of intensive implementation of the theory an internationally valid sociological model of oral epic is by now established and must be respected in cognate fields such as Homeric scholarship. Here the theory is both a help for readers to guard themselves against anachronistic interpretations and a necessary tool for constructing a social-historic context for the Iliad and the Odyssey. As an example, the hypothesis of a gradual crystallization of these two epics is discussed and rejected. Keywords: epic; genre discussion; oral-formulaic theory; fieldwork; comparative models; Homer 1.
    [Show full text]
  • The Odyssey Homer Translated Lv Robert Fitzç’Erald
    I The Odyssey Homer Translated lv Robert Fitzç’erald PART 1 FAR FROM HOME “I Am Odysseus” Odysseus is in the banquet hail of Alcinous (l-sin’o-s, King of Phaeacia (fë-a’sha), who helps him on his way after all his comrades have been killed and his last vessel de stroyed. Odysseus tells the story of his adventures thus far. ‘I am Laertes’ son, Odysseus. [aertes Ia Men hold me formidable for guile in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca 4 Ithaca ith’. k) ,in island oft under Mount Neion’s wind-blown robe of leaves, the west e ast it C reece. in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I (I 488 An Epic Poem I shall not see on earth a place more dear, though I have been detained long by Calypso,’ 12. Calypso k1ip’sö). loveliest among goddesses, who held me in her smooth caves, to be her heart’s delight, as Circe of Aeaea, the enchantress, 15 15. Circe (sür’së) of Aeaea e’e-). desired me, and detained me in her hail. But in my heart I never gave consent. Where shall a man find sweetness to surpass his OWfl home and his parents? In far lands he shall not, though he find a house of gold.
    [Show full text]
  • Myths and Legends: Odysseus and His Odyssey, the Short Version by Caroline H
    Myths and Legends: Odysseus and his odyssey, the short version By Caroline H. Harding and Samuel B. Harding, adapted by Newsela staff on 01.10.17 Word Count 1,415 Level 1030L Escaping from the island of the Cyclopes — one-eyed, ill-tempered giants — the hero Odysseus calls back to the shore, taunting the Cyclops Polyphemus, who heaves a boulder at the ship. Painting by Arnold Böcklin in 1896. SECOND: A drawing of a cyclops, courtesy of CSA Images/B&W Engrave Ink Collection and Getty Images. Greek mythology began thousands of years ago because there was a need to explain natural events, disasters, and events in history. Myths were created about gods and goddesses who had supernatural powers, human feelings and looked human. These ideas were passed down in beliefs and stories. The following stories are about Odysseus, the son of the king of the Greek island of Ithaca and a hero, who was described to be as wise as Zeus, king of the gods. For 10 years, the Greek army battled the Trojans in the walled city of Troy, but could not get over, under or through the walls that protected it. Finally, Odysseus came up with the idea of a large hollow, wooden horse, that would be filled with Greek soldiers. The people of Troy woke one morning and found that no army surrounded the city, so they thought the enemy had returned to their ships and were finally sailing back to Greece. A great horse had been left This article is available at 5 reading levels at https://newsela.com.
    [Show full text]
  • Greek and Roman Perceptions of the Afterlife in Homer's
    McNair Scholars Journal Volume 11 | Issue 1 Article 2 2007 Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Jeff Adams Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/mcnair Recommended Citation Adams, Jeff (2007) Gr" eek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid," McNair Scholars Journal: Vol. 11: Iss. 1, Article 2. Available at: http://scholarworks.gvsu.edu/mcnair/vol11/iss1/2 Copyright © 2007 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. http://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol11%2Fiss1%2F2&utm_medium=PDF&utm_campaign=PDFCoverPages Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Abstract Homer’s Odyssey says that death “is the This study is a literary analysis of way of mortals, whenever one of them Homer’s Iliad and Odyssey and Virgil’s should die, for the tendons no longer Aeneid. Of specific interest are the hold flesh and bones together, but the interactions of Achilles, Odysseus, strong might of blazing fire destroys and Aeneas with their beloved dead. these things as soon as the spirit has left I focused on what each party, both the the white bones, and the soul, having living and the dead, wanted and the flown away like a dream, hovers about.”1 results of their interaction. Methods People have always been fascinated by included reading passages from the death and the afterlife.
    [Show full text]
  • Apollo 13--200,000Miles from Earth
    Apollo13"Houston,we'vegota ­ problem." ­ EP-76,ProducedbytheO fficeofPublicA ffairs ­ NationalAeronauticsandSpaceAdministration ­ W ashington,D.C.20546 ­ U.S.GOVERNM ENT PRINTING OFFICE,1970384-459 ­ NOTE:Nolongerinprint. ­ .pdf version by Jerry Woodfill of the Automation, Robotics, and Simulation Division, Johnson Space Center, Houston, Texas 77058 . James A. Lovell, Jr., Commander... Fred W. Haise, Jr., Lunar Module Pilot... John L. Swigeft, Jr., Command Module Pilot. SPACECRAFT--Hey, we've got a problem here. Thus, calmly, Command Module Pilot JackSwigert gave the first intimation of serious trouble for Apollo 13--200,000miles from Earth. CAPSULECOMMUNICATOR--ThisisHouston;say again, please. SC--Houston, we've hada problem. We've hada MainBbusundervolt. By "undervolt"Swigert meant a drop in power in one of the Command/Service Module's two main electrical circuits. His report to the ground began the most grippingepisode in man's venture into space. One newspaper reporter called it the most public emergency and the most dramatic rescue in the history of exploration. SC--Andwe hada pretty large bang associatedwith the cautionandwarning here. Lunar Module Pilot Fred Haise was now on the voice channel from the spacecraft to the Mission Control Center at the National Aeronautics and Space Administration's Manned Spacecraft Center in Texas. Commander Jim Lovell would shortly be heard, then again Swigert--the backup crewman who had been thrust onto the first team only two days before launch when doctors feared that Tom Mattingly of the primary crew might come down with German measles. Equally cool, the men in Mission Control acknowledged the report and began the emergency procedures that grew into an effort by hundreds of ground controllers and thousands of technicians and scientists in NaSA contractor plants and On university campuses to solve the most complexand urgent problem yet encountered in space flight.
    [Show full text]
  • The Cyclops in the Odyssey, Ulysses, and Asterios Polyp: How Allusions Affect Modern Narratives and Their Hypotexts
    THE CYCLOPS IN THE ODYSSEY, ULYSSES, AND ASTERIOS POLYP: HOW ALLUSIONS AFFECT MODERN NARRATIVES AND THEIR HYPOTEXTS by DELLEN N. MILLER A THESIS Presented to the Department of English and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts December 2016 An Abstract of the Thesis of Dellen N. Miller for the degree of Bachelor of Arts in the Department of English to be taken December 2016 Title: The Cyclops in The Odyssey, Ulysses, and Asterios Polyp: How Allusions Affect Modern Narratives and Their Hypotexts Approved: _________________________________________ Paul Peppis The Odyssey circulates throughout Western society due to its foundation of Western literature. The epic poem thrives not only through new editions and translations but also through allusions from other works. Texts incorporate allusions to add meaning to modern narratives, but allusions also complicate the original text. By tying two stories together, allusion preserves historical works and places them in conversation with modern literature. Ulysses and Asterios Polyp demonstrate the prevalence of allusions in books and comic books. Through allusions to both Polyphemus and Odysseus, Joyce and Mazzucchelli provide new ways to read both their characters and the ancient Greek characters they allude to. ii Acknowledgements I would like to sincerely thank Professors Peppis, Fickle, and Bishop for your wonderful insight and assistance with my thesis. Thank you for your engaging courses and enthusiastic approaches to close reading literature and graphic literature. I am honored that I may discuss Ulysses and Asterios Polyp under the close reading practices you helped me develop.
    [Show full text]